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André Avelãs

Nathan Budzinski


Didn't manage to get this posted in time for anyone near London to be able to get to the show unfortunately (my apologies) but André Avelãs's exhibition in the IBID Projects space in East London was a good example of the sculpture as musical instrument approach to sound art.

The small gallery space was filled with a low level whine that sounded as if the air conditioning had gone dangerously awry, the atmosphere having something toxic about it, making the room foggy in the same way a fire alarm can cause a blinkered panic or loss of peripheral vision. The cause of the whine was a number of large balloons deflating slowly throughout the day, their leaking nozzles hooked up to small whistles and a Hohner Melodica. The result being a constant feeling of, well, anxious deflation - the composition a prolonged entropic sighing glissando, though the sight of the giant balloons with "HIGHLY FLAMMABLE" hand stencilled onto their surface offset the droning with a cartoon quality.

With work like this I always wish to see them in some form of a performance. Why create these interestingly odd sculpture/instrument hybrids, then let them idle away their time in the relatively sober environs of a contemporary art gallery? Though, a show he was in as part of last Summer's Tuned City festival in Berlin looked interesting, much more active and dirty.